It's easy to see Fuss's cameraless photograms and latter-day daguerreotypes as reactions to our digital era, in which photography's ring of truth has a hollow sound. But as this fifty-five-print not-yet-midcareer survey (curated by Cheryl Brutvan of the MFA and Thomas Kellein of the Kunsthalle Bielefeld) shows, Fuss is interested less in documentary fact than in evanescence and immateriality. His archaic techniques provide a direct imprint of the thing photographed, but the result is a paradoxical loosening of the image's bonds to the physical world--an aspect that puts Fuss's pictures in a league with Robert Ryman's all-white canvases and Wolfgang Laib's pollen floor pieces. Sept. 25-Jan. 12; Kunsthalle Bielefeld, Mar. 2-May 9.
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